Heanffe is a one-of-a-kind handwritten font with a beautiful feel. To maintain a true, hand lettered experience, this font includes the following ligatures: Alu, at, ch, dd, ee, ff, ll, oo, pp, ss, tt, ef, es, et, eth, ily, it, ith, om, ot, on, ou, ont, th, ov, ow, sh, st, ut, zz Just use your imagination, your project will become more alive and look Elegant than ever with one of the Heanffe font. Feel free to play with all the whole alternates! Heanffe also includes full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation. The font has smooth wet ink texture, so would be perfect for all designs. You can make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, wedding invitation, identity card, packaging, Website or any purpose to make your art / design project look pretty and trendy.

Bastliga is a signature font that has its own uniqueness and characteristics from a signature font, because it is handwritten manually, so it has the impression of a true signature. This font is carefully crafted with a modern touch. This font looks elegant, luxurious, natural with a beautiful signature touch. Bastliga would perfect for photography, watermark, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need signature taste. Your download will include 4 font files; ~ Bastliga One, Two, Three, Four and Five A hand-made, all characters brush font which has a complete set of A-z characters. Includes a range of multilingual support, punctuation, ligature & alternate. ~ Bastliga Tail A bonus set of 52 Uppercase & Lowercase with tail. Simply select this font and type any A-Z & a-z character to create one of the bonus elements.

Font Rospo-Wood is two-element font inspired by the weekly "Tygodnik Ilustrowany” from the 1933. Font has three alternative glyphs that are automatically replaced.

«Envelove» is the brand new typographic challenge handwritten by Yani Arabena and designed along with Guille Vizzari and Ale Paul, for Sudtipos. It all started as a game for Yani. A carefree and spontaneous calligraphy, making use of the pointed nib with black ink, exploring its expressive possibilities pressing against paper. With time that nib turned into her dearest tool to flow through her writing, breeding this particular style of hers that let her trespass the barrier that kept personal and professional passions apart. All that inspiration is present in «Envelove», a play on words that reflects the love of letters. An expressive free-and-easy typeface that follows no formal calligraphic model and lets itself go with the meaning of words, rhythm and sensations. «Envelove» successfully joins three different fonts, «Envelove Script»—free, spontaneous and unique of its kind—going together with «Envelove Caps»—an uppercase style that builds controlled but dynamic words thanks to its alternates and ligatures, and to its own true Small Caps set as well—and «Envelove Icons», ideal to decorate and bring to life any written message. «Envelove» encourages you to write as if you have a nib, ink and an envelope. It invites you to take part in other worlds like a magic cocktail, a summer night, a long-awaited reunion, a first dance, a dish cooked with your own hands. The fashion world, gourmet, stationery, scrapbooking and everyone where a Handmade or Handcrafted feel is craved for, save a special place for «Envelove». (The illustration series that are shown with «Envelove» were made by the incredible Argentine illustrator Eugenia Mello.)

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

Neroli is an oil distilled from the blossom of the bitter orange tree and used extensively in perfumery. Its scent is sweet, honeyed with green and spicy facets. The eponymous OpenType font is of tidy Art Deco construction and will lend its own unique bouquet to any typographic composition.

is an entertaining font with pointed endings, contains inline and many dingbats, besides having a free version!

Kithan is a font that provides three weights and three compressed from semi-fine to bold, while the compressed have a reduced contrast creating a tall and soft look. Bold font sizes allow letterforms to be appreciated, with the same restraint and focus. Creates a smooth texture for small font sizes and long reads. Kithan's theme is inspired by the Mexican currency of the year 2000.

Get ready to wow the world with inspiring 'Baremy' family of doodle fonts. Three unique styles, one art. Unleash your creativity! These three unique typefaces, while diverse in appearance, share a common theme—they add a unique handcrafted charm and artistic touch to your projects. Features: - 3 doodle fonts in the family - All fonts of different types, combined with a style. - Multilingual - Kerning ld.luxfont@gmail.com

Scharf is a sturdy serif of eight weights with matching true italics. Accurate serif details are carefully drawn to allow improvements to readability and further enhance the fonts' fluid and dynamic personality. This extensive type system is purposefully suited for editorial design and complex typographic hierarchy. Details include eight weights with matching true italics, over 950 characters per font with alternative lowercase a, e, g and y, eight variations of numerals, true small caps with accents, discretionary ligatures and language support covering Western, South and Central European and Vietnamese.

Dante was designed by Giovanni Mardersteig. Mardersteig started work on Dante after the Second World War when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book face with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, Dante was adapted for mechanical composition by Monotype in 1957. The new digital font version has been re drawn, by Monotype's Ron Carpenter, free from any restrictions imposed by hot metal technology. The Dante font family was issued in 1993 in a range of three weights with a set of titling capitals. Dante is a beautiful book face which can also be used to good effect in magazines, periodicals etc. Dante® font field guide including best practices, font pairings and alternatives.

Trad (Träd is Swedish for tree) is inspired by viking mythology and runic alphabets. Imagine a viking warrior crudely carving a message into a tree stump with his trusty dagger, sipping on a flagon of ale and pondering a hard days slaying. Like the blade of his blood encrusted axe, Trad is ideal for projects requiring a sharp edge, such as the cover of your next thriller, zombie flick, or death metal album.

This is a complex typographic system which includes three different but complementary styles so far: Slab, italic and script, with nine weights each one; plus three sets of ornamental fonts: labels, negative labels and ornaments. The soul of the family is a slab feeling applied judiciously to the italic and script styles to make it coherent with the whole system. Each style has three sets of figures: Proportional lining, tabular lining and old style. You can mix the three styles in a single piece to obtain more expressive results without worring about the uniformity and complementing the design by using the ornamental sets.

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!

»Artis« is the name for my latest art-project-font. Obviously I just chopped off the last »t«. Then I looked it up on Wikipedia and what do you know, it is of latin descent. »Ars Gratia Artis« which means »art for arts sake« or in French »l’art pour l’art«, a perfect font name. If I would cut off the »s« as well it would mean disambiguation and that in turn is, what I just did here. Enough disambiguation! »Artis« is a modern classical beauty with extreme contrast between up- and downstrokes that make it unique with a touch of art deco and showing Renaissance roots. But – »Artis« is a twin-font that has an elegantly decorated twin sister »Artis-Swing«. Between the 2 fonts you have endless possibilities for combination. I love these twins! It is a great everyday workhorse with seven weights from ExtraLight to Bold and all the necessary weights in between. Great for short copy and elegant headlines! With 879 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Artis« has a set of Cyrillic that is – besides Russia – also good for Serbia, Macedonia and Ukraine. It has oldstyle- and lining-, tabular- and tabular-oldstyle-figures and many ligatures. »Artis« comes in Sans and Swing and is an elegant, playful and friendly font. Enjoy!

Make the right statement with the elegant Sabler Titling. This showstopping font features an inherent grace combined with the classic style of the Art Deco period. The subtle beauty of its letters is highlighted by the typeface’s stems, which taper towards the baseline highlight--a feature that adds clear distinction to your design. Originally inspired by a WPA poster, this typeface has been expanded to include three equally elegant proportions. Sabler Titling includes more than 60 free alternative forms, including support for most Latin-based languages. Add a hint of seduction to your work with Sabler’s high-contrast letterforms--ideal for magazines, advertisements and books on fashion, fine arts, and luxury goods of all kinds.

A free-spirited hand-script font. Very similar to pre-computer hand-written letttering with a ruling pen.

Champina is handwritten font, Recommended uses for simple write, wall type, decoration, and poster. Free for personal use.

Introduced by Timurtype Studio! Roasted Bailey is a Handwritten Script Font This font takes you into a world of timeless elegance and individuality with the charm of a charming handwritten font. In a digital landscape dominated by uniformity, these fonts stand as a testament to the timeless charm of the human touch and artistic expression. Each letter becomes a brushstroke, and each word a canvas of authenticity, imbuing your designs with a distinct personality that goes beyond the ordinary. Handwritten script fonts captivate with their unique rhythm, celebrating the fluidity of handwriting and the spontaneity of creative expression. More than just typography, they are a bridge between analog and digital, a poetic dance between tradition and modernity. the true warmth these fonts bring, elevate your projects to a world where every word becomes a heartfelt brushstroke in a design masterpiece Roasted Bailey Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts 😊 Thank You

Zart is a heavy yet delicately sensitive display typeface filled with character, a free interpretation of the classical French styles from the late eighteenth century, reimagined for modern use. While it’s vertical strokes carry the typical weight of this style, the thinness of the horizontal strokes is further extended into the characters with the introduction of large vertical ink traps. This allowed us to design slightly narrower letters which, coupled with shorter serifs, result in a overall darker expression, creating really impactful headlines. Zart is available in three versions: Regular, Italic and Script.

Goudy Sans Bold was originally designed by Fredric Goudy in 1922 as a less formal "gothic" and finished in 1929. The light was designed in 1930 and the Light Italic in 1931. Alternate letterforms are included in these three Goudy designs which are digitized true to their original design. In 2006, designer Colin Kahn drew "LTC Goudy Sans Regular" which is a medium weight version intended for text purposes. Kahn has also designed an experimental "LTC Goudy Sans Hairline" which has a skeletal almost mono-width stroke and results in a surprisingly elegant display face.

Walbaum Antiqua Pro is an RMU redesign of a German font classic, with three different number forms and small caps throughout all font styles.

The design for the font “sketchimpact” is based upon the typeface Impact. The font family consists of three different versions: solid, outline and lines.

Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

LiebeRobots is not your average collection of mean termination machines. LiebeRobots are friendly and polite. Some are from Mars, some from Venus, and some are probably from Germany. Most are from the future, some are from the past. And a handful are even from the 60s. LiebeRobots probably is the most comprehensive collection of hand-drawn robots ever. They look great on almost any greeting card, birthday card or invitation. LiebeRobots also serve as a perfect companion to any informal graphic design that needs a personal, handmade touch.

The extravagant Odin was designed by Bob Newman in 1972. Its figures display constructed basic forms and when set into words, the typeface builds closely set lines. The strong serifs catch the reader's eye and draws it horizontally across the page. The forms of the capital letters are particularly distinctive. In the upper third, the stroke beginnings seem to form a roof over the body of the letter, fragmented by a fine white line that lends them independence and dominance. Odin is best used for headlines in display point sizes.

Durer Caps is three fonts in one. Based on master artist Albrecht Dürer’s 1525 geometric construction of Roman capitals, this font features A to Z as caps only. But there are three variations included: filled construction, unfilled construction, and the solid fill letters by themselves.The user can layer the unfilled and the solid fill letters to do two-color overlay effects.

Redshift is sans with 12 upright weights and 12 oblique weights. Its a soft edged, spaced out offering from Rocket Type. It supports most extended Latin languages including English, Spanish, French, Italian, German, Polish and Portuguese. The name redshift means the displacement of spectral lines toward longer wavelengths (the red end of the spectrum) in radiation from distant galaxies and celestial objects. The original concept behind the font was that I wanted to create a massive heavy sans which would give the sense of tranquility within the user not unlike watching an object float through space. Redshift was designed by Dathan Boardman during 2016. Strongly rooted in the tradition of other notable geometric sans faces however much attention was paid to create a soothing experience for reading both large and small bodies of text. Each letter was painstakingly modified for optimal readability and warmth. Redshift was designed with the intent to create the ultimate bold header font. From there I wanted create the lighter weights to be readable when set within large bodies of text. Redshift works great for body headers & text as well as for logo design. It looks great juxtaposed with any number of other Rocket Type Fonts.

Philip Bouwsma’s offbeat mind, always working in mysterious ways, brings us one of the unlikeliest syntheses of historical influences in a perfectly fluid, organic, and highly expressive connected script. Tupelo takes its inspirational roots from the handwritings of two of the most influential men in world history: Elvis Presley and Abraham Lincoln. It took a little research and analysis on Bouwsma’s part to reveal that The King’s and Honest Abe’s methods of writing shared a common ancestor: a writing system they had both learned as youths during their early school years. While Tupelo’s lowercase maintains the slant, color, texture, and flourish of Elvis’s handwriting, its uppercase is the embodiment of Lincoln’s well-versed originality. This is the closest a typeface has ever come, in its timeliness and historic relevance, to making a statement about these modern days' fusion of politics and popular culture. Tupelo comes in two main fonts, plus a set of beginning lowercase, a set of ending lowercase, and plenty of alternates and extras. The non-Pro set consists of five fonts, while Tupelo Pro combines the lot in a single font of over 840 characters, which includes programming for push-button swash caps, stylistic alternates, oldstyle figures, beginning and ending letters. Elvis and Abe would be proud!

Years ago, I developed an interest in the Japanese art of dwarfed potted trees, bonsai. I bought some books on the subject from Brooklyn Botanic Garden. In one -- Handbook on Bonsai: Special Techniques (seventh printing, February 1976) -- the type was bad. Old worn lead type, I suspect, spread wide in the tops of characters and disappearing on the bottoms. Two decades later, I came across my Brooklyn Botanic Garden collection and was struck again by this interesting type. Inspired, I made a typeface. Didn't take me long to decide on a name for it, either: a name with a double-meaning, based both on its look and its inspiration. Bonsai, the typeface, has two styles, a roman and a true italic.

Austral Slab is a hand-drawn layered font designed by Antipixel, with unique textures & styles that combine giving your work a distinctive impression. This font comes in three weights, Regular, Light & Thin, with irregular outlines and uneven/crooked strokes, giving your work more personality and making it exclusive and powerful. For this same reason it can be used in a vast variety of projects, such as logos & branding, stationery, book covers, magazine design, clothing prints & tags, packaging, animated videos, and many more! Austral Slab has three sets of alphabets in uppercase and lowercase to avoid repeating the same character pattern, and giving the font a more natural handwritten feel. This is included in the Open-Type Contextual Alternates, which applies an automatic substitution of glyphs as long as the Open-Type features are activated. Also, Austral Slab offers other Open-Type features such as Stylistic Alternates, Ligatures, Discretionary Ligatures, Fractions, Superscript, Subscript, Denominator, Numerator, Scientific Inferiors & Kerning. This font has a very large glyph coverage and can be used in a wide range of languages, including English, Spanish, Italian, French, German, Polish, Czech, Vietnamese, Finnish, Icelandic, among many others. The style Maplines Thin is offered Free for commercial & personal use!